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Auction 2 July 2020 11am EDT

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450 Park Avenue, New York

\n","auctionDetailsSmall","New York Auction 2 July 2020","extraInfo","

John McCord
\nHead of Day Sale, Morning Session
\nNew York
\n+1 212 940 1261

\n","enableHighlightsView","enableOnlineCatalogue","endSale",true,"hideSoldLots","isChineseTranslate","isExhibition","isLiveAuction","isMixedAuction","makeLive","showAdvanceBidButton","showArtCollector","showBuyButton","showCatalogueDownloadLink","showInquireButton","showPrintCatalogueSection","showRegistrationLink","showSaleOffers","showSoldPrice","lots",[222,223,224,225,226,227,228,229,230,231,232,233,234,235,236,237,238,239,240,241,242,243,244,245,246,247,248,249,250,251,252,253,254,255,256,257,258,259,260,261,262,263,264,265,266,267,268,269,270,271,272,273,274,275,276,277],"articles",[166,167,168,169],"departments",[159],"auctionCurrency",{"_156":72,"_157":158},"totalLotCount",56,"auctionMobilityAuctionRowId","1-2UKTAR","auctionUrl","https://www.phillips.com/auction/NY010420","currencyCode","currencySign","$",{"_160":161,"_162":163,"_164":165},"departmentId",1,"departmentName","Contemporary","departmentDisplayName","Modern & Contemporary Art",{"_170":213,"_172":165,"_173":214,"_16":215,"_176":216,"_178":217,"_180":181,"_182":183,"_184":218,"_186":183,"_188":219,"_190":220,"_192":221},{"_170":204,"_172":165,"_173":205,"_16":206,"_176":207,"_178":208,"_180":181,"_182":183,"_184":209,"_186":161,"_188":210,"_190":211,"_192":212},{"_170":194,"_172":165,"_173":195,"_16":196,"_176":197,"_178":198,"_180":181,"_182":183,"_184":199,"_186":200,"_188":201,"_190":202,"_192":203},{"_170":171,"_172":165,"_173":174,"_16":175,"_176":177,"_178":179,"_180":181,"_182":183,"_184":185,"_186":187,"_188":189,"_190":191,"_192":193},"coverUrl","https://flockler.com/thumbs/sites/889/springford-625cd2e0-f2b6-4792-9b25-f6e67e57e62e_s600x0.jpg","section","summary","In advance of our 20th Century & Contemporary Art Day Sale this July, we're revealing two exciting works to be offered in our Morning and Afternoon sessions. ","First Reveal: Vivian Springford & John Chamberlain","body","

Vivian Springford Untitled (Tanzania Series), 1972. Estimate: $60,000-80,000.
\n20th Century & Contemporary Art Day Sale, Afternoon Session.

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Exuberant and brimming with radiant color, Vivian Springford's Untitled (Tanzania Series), 1972, and John Chamberlain's Pure Drop, 1983, are two major highlights of Phillips' upcoming 20^th Century & Contemporary Art Day Sale. Executed a little more than a decade apart, each work gives insight into how these two very different artists pushed their respective practices to new heights in their late careers.

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Both Chamberlain and Springford were active in the New York art world of the 1950s, initially developing their practice in relation to – and in challenge of – the prevailing aesthetic of Abstract Expressionism in the fields of sculpture and painting, respectively. Yet while Chamberlain was widely celebrated early on, Springford's achievements are only receiving their long overdue recognition in recent years.

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Despite an almost 30-year hiatus from the art world, Vivian Springford developed a unique and timeless language of abstraction that’s garnering fresh attention from audiences today. Untitled (Tanzania Series), 1972, is an exquisite example of Springford’s characteristic compositions that beautifully meld Eastern and Western motifs. Her oeuvre effortlessly integrates the influence of Abstract Expressionist and Color Field painting with harmonious principles from the ancient Chinese philosophies of Taoism and Confucianism.

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I want to find my own small plot or pattern of energy that will express the inner me in terms of rhythmic movement and color. The expansive center of the universe, of the stars, and of nature is my constant challenge in abstract terms.
\nVivian Springford
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Untitled (Tanzania Series)’s bold concentric pooling of pigment is wholly representative of Springford’s signature “one-shot” paintings, which are created in a single attempt without edits or alteration. By the 1970’s Springford had developed her distinctive technique for staining her raw canvases with thin washes of pinks, blues and greens, in a method that almost mimics the application of watercolor. The present work’s brilliant hues and organic pattern work in tandem with the delicacy and thoughtfulness of Asian artistry to form an awe-inspiring burst of passion.

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Bold in approach and vision, but timeless in appeal, Springford’s compositions are finally receiving long-overdue popular and critical acclaim. With more international exhibitions of her work on the horizon, Springford’s place in the canon of postwar abstract painting is certainly being sealed.

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John Chamberlain Pure Drop, 1983. Estimate: $600,000-800,000.
\n20th Century & Contemporary Art Day Sale, Morning Session.

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With its striving verticality, forceful dynamism, and vibrantly dappled matrices of color, Pure Drop, 1983, is emblematic of John Chamberlain’s celebrated late work. A quintessential example of the artist's Giraffe series, circa 1982-1983, of which other examples reside in the The Menil Collection, Houston, this monumental work perfectly encapsulates how Chamberlain, having revolutionized the field of art making in the late 1950s by using wrecked automobile parts as his material, continued to develop his radical sculptural practice in the 1980s.

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Pure Drop speaks to the increasing manipulation of form and color that entered Chamberlain’s oeuvre after his move to Sarasota, Florida in 1980. Like fellow New York transplants such as Robert Rauschenberg and James Rosenquist, Chamberlain’s move to Florida and purchase of a large warehouse provided him with the freedom for more experimentation in the complexity and scale of his sculptures.

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Do you live in a world with no color? It never occurred to me that having color on sculpture was such a big number. I thought it was very obvious.
\nJohn Chamberlain
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Restricting his focus to the use of specific, larger-scale parts of the automobile, such as fenders, bumpers, and chassis, and sandblasting the painted metal to create the eponymous giraffe-like patterns exposing the striations of the underlying material, Chamberlain creates an artwork that at once pulls into itself by an intrinsic gravitational force and breaks free from its own vertiginous contortion. In contrast to the ready identification with wrecked cars in his earlier works, this work articulates Chamberlain’s shift to creating more ambiguous sculptures.

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Once part of the esteemed Doris and Charles Saatchi Collection, London, Pure Drop is alive and frozen in place, a soaring tangle of metal forms bursting out and into one another but locked in sculptural stasis in a manner that exudes an imposing sense of presence.

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Inquiries

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John McCord, Head of Day Sale, Morning Session
\njmccord@phillips.com

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Rebekah Bowling, Head of Day Sale, Afternoon Session
\nrbowling@phillips.com

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\n","publishDate","2020-05-28T18:16:18.000000Z","coverPosX",50,"coverPosY",0,"articleUrl","https://www.phillips.com/article/58558469/tca-first-reveal-contemporary-art-vivian-springford-john-chamberlain-new-york-auction","displayOrder",3,"auctionEditorialID",839,"editorialID",2984,"flocklerID",58558469,"https://flockler.com/thumbs/sites/889/gettyimages-1054316850-d356fb38-c8e9-4cee-87fc-4fbd7a6a5298_s600x0.jpg","Robert Manley, Phillips Deputy Chairman and Worldwide Co-Head of 20th Century & Contemporary Art, speaks with Jill Weinberg Adams, who worked closely with Joan Mitchell at Xavier Fourcade Gallery. ","Jill Weinberg Adams on Joan Mitchell ","

Joan Mitchell in her Paris studio, 1962. Photo by BIOT Jean-Pierre/Paris Match via Getty Images, Artwork © Estate of Joan Mitchell.

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ROBERT MANLEY: Jill, tell us about your connection to Joan Mitchell’s painting, 'Noël,' 1961-1962.

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JILL WEINBERG ADAMS: I was at the Xavier Fourcade Gallery during the '70s and '80s, and this painting was exhibited there in 1985, as part of a very important exhibition of paintings from 1961 and '62. They had never been seen in New York before and only been exhibited only once previously.

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Joan Mitchell and Xavier Fourcade in the artist's studio, circa 1983.

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In the summer of 1979, Xavier was in Paris during which time he visited Joan and that appears to have been the occasion when Joan told him there is a group of paintings that were stored at Klipstein and Kornfeld in Bern. They had remained there, after having been originally exhibited there in 1962. Xavier immediately went about retrieving them from Switzerland. Most of them were held back until the right opportunity to devote a show specifically to these paintings. The Fourcade show was “Joan Mitchell: The Sixties,” held April 3rd to May 4th in 1985.

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Joan Mitchell Noël, 1961-1962. Estimate: $9,500,000-12,500,000.
\n20th Century & Contemporary Art Evening Sale.

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RM: Do you remember the first time you saw 'Noël' and this whole body of work?

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JWA: It would have been in the warehouse when they arrived after shipment. I was the person who accompanied the photographer to the warehouse and had the experience of seeing all 13 of the paintings, including Noël.

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In Michael Brenson’s review in The New York Times, he described the power of the paintings, their lyricism, their centers like two squalling cats. He made the point that a lot of these paintings seem to revolve around the conflict between two primary areas of activity—and you certainly see that in Noël. The juxtaposition of the underlying green mass becomes the stage set for establishing the chromatic contrast between this hot, bright orangey-red and the whole range of greens.

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In this period of time, between 1960 and 1962, Joan was exploring and navigating a whole different method and range of paint application, from throwing paint on the canvas to squeezing paint directly onto the canvas to using brushes. It's also said she used her fingers, I’m not sure about that. There's a tangle of staining and impasto and articulated brushstrokes and blurry areas that are distinctive in this period. Noël has a kind of a limpid, liquid, airy quality that extends to the brushy, washy passages - I call them atmospheres - that surround the central composition. And those are the things that knit the painting together. She described the figure/ground relationship as the only formal issue in painting that interested her. And that really has to do with establishing a foundation, building on top of it, and then connecting the entirety to the format of the canvas itself.

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RM: Did Joan ever talk about her work from this period?

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JWA: I helped prepare for her first traveling retrospective exhibition, which opened in 1988 and traveled through 1989. The curator was an art historian named Judith Bernstein. Judith elicited from Joan the comment that these paintings were “very violent and angry paintings,” though at the same time, there is a lightness and a lyricism and a breadth to them.

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But in looking back on these paintings, Joan would also have remembered what a difficult time it was in her life. Her father was ill, her mother had been diagnosed with cancer. She was going through her whole drama with Riopelle, settling in Paris, the art world changing, the Abstract Expressionist community fragmenting, the rise of pop art. There is a vigor and an expressiveness, in the way that this painting and other paintings from this period are created, that does give them their storms. They have an emotional tone that does, to some extent, express a certain kind of contrast between darkness and light, between lovely experiences like a garden party in the afternoon, (which is the title of one of the paintings in the series) to another painting in the series called Grandes Carrières, a section of Paris known for the cemetery located in the abandoned quarries. So there are hints of death as well as memories of a garden of light and loveliness.

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I think, that Noël has a specificity of its color palette that's not true of all of the other paintings—more than ones like Grandes Carrières at the Museum of Modern Art. It's a little bit more violent, it's a little bit more reddish. It has an overall tonality and a narrower contrast range. Whereas this painting really does sparkle with the juxtaposition of near complementary colors. Joan's sense of color was very nuanced and she was really sensitive to the specific hues that she was using.The inclusion of ochres and ambers and earth tones and greys were always very important in setting off her use of color.

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RM: 'Noël' was included in the 1962 exhibition at Klipstein and Kornfeld, can you tell us about that?

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JWA: The 1962 show that Joan Mitchell had with Klipstein and Kornfeld in Bern, Switzerland was a very, very important exhibition for her. It was an opportunity to show a larger, interrelated and extraordinarily dynamic body of work in Europe with the support of a really established, highly regarded historic organization that was both publisher, auction house, and exhibition gallery. It appears likely that her connection with Kornfeld and Klipstein came out of her close friendship with Sam Francis, who was already working with them.

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Joan Mitchell Noël, 1961-1962 (installation view). Estimate: $9,500,000-12,500,000.
\n20th Century & Contemporary Art Evening Sale.

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RM: Do you have any insight into how Mitchell named her paintings?

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JWA: Mitchell loved poetry. She liked the sound of words, such as 12 Hawks at Three O'clock. Her titles came afterward; she didn't start with a title. Sometimes friends would participate in titling sessions. These paintings would have been given titles as they were chosen to leave the studio and go out into the world for the exhibition in Switzerland.

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I think it's reasonable to conclude that she chose Noël for this painting because of its juxtaposition of green and this reddish color that would not be atypical for her. It is interesting to note that most of the paintings in this group of works were given French titles, but some had English titles. Noël is kind of an interesting case because it's both. There may have been other references. It may be a painting that was finished in the wintertime.

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I paint from remembered landscapes that I carry with me – and remembered feelings of them, which of course become transformed…
\n— Joan Mitchell
\n

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Joan Mitchell Untitled, 1975. Estimate: $80,000-120,000.
\n20th Century & Contemporary Art Day Sale, Morning Session.

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RM: Can you talk about the paints Joan used and how she painted?

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JWA: Mitchell's paintings would tend to begin with a washy underlayer as an establishment of the composition. In this case, it would be the whole rear ground green that largely ends up getting covered up. When she was starting a canvas, she was beginning it generally with broad brushes and a thinned down paint. That established an environment in which drips are inevitable. During the ‘50s where one sees glimpses of drips, she tended to continue to build her structure on top of the drips and ultimately covered overall, but clearly she allowed them in these paintings.

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By the time you see drips for the first time in a painting like this and others of this period, she appears to be taking a loaded brush and throwing it at the canvas and accomplishing this dollop of paint followed by a trail. Compared to works from four or five years earlier—which tend to be much more all over, more architectural—in this period, she is exploring and navigating a whole different method and range of paint application, from throwing paint on the canvas to squeezing paint directly onto the canvas using brushes. This continued the rest of Mitchell's life as a painter, which went on another 30 years. She alternated between pulling her compositions into the center and extending them and expanding them back around to the boundaries. This is the first time that she gathered the composition into these knots of activity.

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Joan Mitchell always used very high-quality painting materials. She wasn't like de Kooning or Kline who just sometimes used whatever they had at hand. It was always really important to her to use the best oil pigments in order to achieve the desired results. She worked as carefully as she could, and knew to put thick over thin and not thin over thick. But she did really push her pigments around sometimes in ways that are impossible, painting thicker than paint is really engineered to be and she oftentimes pushed the capacity of the paint to the brink. Noël is in really remarkably good condition. During its initial period of drying and stabilizing, it wasn't moving around, it was presumably in some kind of a reasonably temperature-controlled environment. So it could sit. And then, because it only changed hands a couple of times and has been in a private collection where it's obviously been loved for such a long time, it hasn't been subjected to the indignities of poor handling and temperature changes and all of that.

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Jean-Paul Riopelle and Joan Mitchell photographed in their apartment-studio on Rue Frémicourt, Paris, 1963.

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RM: Were there special challenges Joan faced as a woman?

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JWA: She might stand in front of a painting, nudge a companion and say, "Not bad for a lady painter”. She was never not aware of the reality that her gender, her identity as a woman, put her in a category that she bridled against, that she worked to not allow to impede her. She really insisted that it didn't limit what she did or how she approached it. I sometimes think that it affected Joan more in her social and professional life than it did in the studio. In the studio, it didn't matter at all what her gender was.

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I feel strongly that one of the reasons that Joan Mitchell's work is increasingly recognized, increasingly held in high regard is because of how she authentically viewed painting. Her goal for her paintings was that a painting should be a repository that reflects some aspect of lived experience. So that like a great poem or a Shakespearean sonnet or a great piece of musical composition, the greatest of them are never dated. They're always alive. We don't care about this painting only because it's an important example of a historical period. Although we do care about it because of that, we really primarily care about this painting because of the way it's alive in front of our eyes.

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\n","2020-06-23T20:40:07.000000Z","https://www.phillips.com/article/59668606/joan-mitchell-noel-xavier-fourcade-robert-manley-jill-weingberg-adams",2,863,3040,59668606,"https://flockler.com/thumbs/sites/889/018-9-vl-and-rb-e2b8b14c-241f-4e27-ada5-baa7ab3a4cb3_s600x0.jpg","The restaurateur and author of the new Phaidon book \"Cooking in Marfa\" reflects on the works that speak to her from our 20th Century & Contemporary Art Day Sales.","Virginia Lebermann on Collecting Contemporary Art","

Virginia Lebermann and Rocky Barnette of The Capri, Marfa Texas. Photograph by Douglas Friedman.

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Hotelier, philanthropist and Ballroom Marfa co-founder Virginia Lebermann harbors a longtime passion for the arts that informs her work across disciplines. Together with her partner chef Rocky Barnette, the two have made quite the mark at the intersection of design and hospitality, the pair co-wrote Cooking in Marfa as a tribute to their beloved restaurant, The Capri. For our 20th Century & Contemporary Art Day auctions, we were lucky to have the tastemaker engage with our Morning and Afternoon sessions and curate a selection of her favorite works.

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The Capri, Marfa, Texas. Photograph by Douglas Friedman.

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1.

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James Turrell Hologram (IV 01), 2002. Estimate: $30,000-50,000.

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I learned to look at the sky in a different, more specific way from James’ work. It affects the way I see the world in West Texas.
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2.

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Joan Mitchell Untitled, 1975. Estimate: $80,000-120,000.

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This is just a beautiful painting.
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3.

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John Chamberlain Pure Drop, 1983. Estimate: $600,000-800,000.

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Chamberlain always draws my mind back to Marfa and his incredible installation there. There is a femininity in this piece that I don’t normally associate with his work. I find that exciting and curious.
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4.

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André Breton Four Works: (i-iv) Untitled, 1947-1959. Estimate: $15,000-20,000.

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I was deeply affected by Breton’s writing as a young student. Breton was moved by his time in Mexico where he traveled in 1938 for a conference on Surrealism. Breton, “I don’t know why I came here, Mexico is the most Surrealist country in the world.” Additionally, in 1945 & 1946 he traveled to Haiti where Haitian Vou Dou culture influenced his work. I’m obsessed with the effects of travel on the creative process.
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5.

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Loló Soldevilla Sin Título, 1956. Estimate: $30,000-40,000.

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Born in Havana, a politcal activist and professor of fine art, Soldevilla’s entire body of work is magnificent. It is a well-known fact that the Fontanals-Cisneros Collection is soulful and wise.
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6.

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Ana Mendieta El laberinto de la vida (The Labyrinth of Life) from the series Labyrinth of Venus, 1982. Estimate: $50,000-70,000.

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The ethereal femininity of the spiral throughout art history always fascinates me.
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7.

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Kehinde Wiley Check II, 2006. Estimate: $25,000-35,000.

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He is an incredible artist. This painting is so fresh and energized.
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8.

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Tomás Sánchez Meditador, 1995. Estimate: $250,000-350,000.

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This is stunning vision of what I wish the world felt like.
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Enjoy a 20% discount on Cooking in Marfa by using code PHILLIPS20 at checkout. Offer expires July 30, at midnight Eastern Time.

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\n","2020-06-26T17:11:27.000000Z","https://www.phillips.com/article/59817379/virginia-lebermann-contemporary-art-marfa-texas-auction",870,3049,59817379,"https://flockler.com/thumbs/sites/889/dayam2-e0259743-ee29-434d-8566-73c73697baee_s600x0.jpg","Channeling diverse art historical precedents such as Casper David Friedrich and the Hudson River School, Sánchez presents a landscape of the mind – one that transcends geographical specificity in favor of a spiritual, imaginary place. ","Tomás Sánchez: States of Meditation","

Tomás Sánchez Meditador, 1995. Estimate: $250,000-350,000.
\n20th Century & Contemporary Art Day Sale, Morning Session, New York.

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Widely celebrated as one the most acclaimed contemporary Cuban artists working today, Tomás Sánchez emerged as an artist in Havana in the 1960s. While Sánchez was part of the of vanguard contemporary artists seeking to break away from staid conventions dominating Cuban art, he radically embraced the century-old tradition of landscape painting in the late 1970s — an anomaly within an art context both locally and beyond that was defined by experimental and abstract approaches to art-making. Though Sánchez embraced a hyper-realistic painting style, he did not strive for geographical exactitude, nor did he seek to idealize stereotypically "Cuban" scenes. Rather, he sought to visualize the higher states of consciousness he achieved through meditation and yoga, which that at the time were notably considered dissident activity by officials.

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Meditador perfectly encapsulates Sánchez’s distinct symbolic language to convey this interrelationship. Painting from memory, Sánchez presents us with a fantastical landscape that emerges from the rich intersection of inner reality and the concrete specificity of Cuba. As he explains, “The interior spaces that I experience in meditation are converted into the landscapes of my paintings…When I paint, I experience meditative states; through meditation I achieve a union with nature, and nature, in turn, leads me to meditation.” (Tomás Sánchez, quoted in Tomás Sánchez Artist Statement, 2016, online).

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For no one escapes the spell cast by Tomás Sánchez: the more we know his work the more we love it, and the more certain we are that if the world in fact deserves to be made again, it is because, as much as it can, it resembles his painting.
\n– Gabriel García Márquez
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While Sánchez’s frequent depictions of bodies of water recall the surge of new reservoirs and artificial lakes that were built during the initial phase of the Cuban Revolution, he above all infuses them with spiritual meaning. Water in his paintings represents certain states of awareness that can be achieved through meditation — with rivers, for example, symbolizing the power of spiritual regeneration and shores standing in as the state all individuals strive for.

\n\n

\n\n

Caspar David Friedrich Wanderer Above the Sea of Fog, 1818 (detail). Hamburger Kunsthalle.

\n\n

Sánchez powerfully re-interprets the compositional motif of the Rueckenfigur (figure seen from behind) within the context of his time and place; commonly employed by German Romantic painters such as Casper David Friedrich, the compositional device of portraying a person with their back to the viewer offers us a means to vicariously experience the depicted scene.

\n\n

As Edward J. Sullivan has observed of Sánchez’s paintings, "in a number of them a small male figure stands or sits with his back to the viewer, serving as a witness to the scene and evidencing the power of nature which, at any moment, could overtake the fragile human existence to exert its inherent majesty” (Edward J. Sullivan, Tomás Sánchez: Traversing Multiple Paths, online). Just like the lone meditating figure, the viewer in Meditator is drawn into a state of contemplation and introspection.

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Learn more about works from Latin America >

\n\n

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Resect exemplifies how Nolan continued to explore the formal and conceptual boundaries of his shaped canvases that had garnered him widespread critical acclaim as one of the most innovative purveyors of American abstraction. Towards the late 1970s, Noland, having experimented with a range of unconventional canvas shapes, began a discrete series of asymmetrical canvases often referred to as his Surfboard paintings.
\n

\n\n

\nThese works represented a powerful extension of Noland's seminal Needle and Diamond shaped canvases from the 1960s. As in those early works, Noland here investigates the notion of painting as a discrete object: imbuing the canvas with an active role in energizing the composition, the border of the canvas to become as structurally important as its center. Resect, with its dynamic attenuated form and peripheral bands of color, dramatizes the relationship and creates an exacting, yet sophisticated, balance of color and structure – bringing Noland’s exploration of the painterly frontier to its apotheosis.

\n\n

\n\n\n\t\n\t\t\n\t\t\n\t\t\n\t\t\n\t\t\n\t\t\t\n\t\t\t\n\t\t\n\t\t\n\t\t\n\t\t\n\t\t\n\t\n

\n\t\t\t

$\"Kenneth$

\n\n\t\t\t

\n\t\t\t

\n\t\t\t
"I finally came to the idea of everything being unbalanced, nothing vertical, nothing horizontal, nothing parallel."
\n\t\t\t– Kenneth Noland
\n\t\t\t

\n\t\t\t

\n\n

Working with a series of templates, Noland imposed the canvas shape onto an unstretched canvas and soaked it with heavily diluted paint. Resect is notably one of the last canvasses Noland completed with this “soak-stain” technique. The concentrated simplicity and linearity of Resect presents the bands of color and the edges of the artwork to the viewer as if their dramatic confrontation is a force of nature rather than a result of the artist’s creation, emphasizing the complex interchange between painting and surface.
\n

\n\n

$\"\"$

\n\n

\n","imageUrl",526,"The Washington Color School",[405],{"_388":126,"_397":406,"_399":407,"_401":-7},1270,"

Noland was a key member of the Washington Color School, a group of abstract painters based in Washington, D.C., who emerged in the late-1950s and flourished to great acclaim in the 1960s.

\n\n

\n\n\n\t\n\t\t\n\t\t\t\n\t\t\t\n\t\t\n\t\n

\n\t\t\t

Many of the artists had been included in Clement Greenberg’s Post-painterly Abstraction exhibition in 1964 alongside likeminded artists such as Frank Stella, Helen Frankenthaler and Sam Francis, yet it was the 1965 exhibition The Washington Color Painters that traveled from the now defunct Washington Gallery of Modern Art to such institutions as the Walker Art Center which truly cemented the group’s reputation. While the exhibition included the work of Noland, Morris Louis, Paul Reed, Howard Mehring, Thomas Downing, and Gene Davis, the broader Washington Color School also came to encompass artist such as Sam Gilliam and Alma Thomas.

\n\t\t\t

$\"The$

\n\n\t\t\t

Cover of the exhibition catalogue The Washington Color Paintings, Washington Gallery of Modern Art, Washington, D.C., 1965.

\n\t\t\t

\n\n

\nUnited by an emphasis on color and a keen sense of experimentation, these artists represented a cool and reduced aesthetic that served as a counterpoint to the New York School. Rejecting the painterly gestures and heavily worked surfaces of Abstract Expressionism, many of the Washington Color School artists embraced novel painting techniques that both elaborated upon and disrupted the ethos of Color Field painting. The “soak stain” method that Frankenthaler had pioneered in the early 1950s served as a model for many of these artists in their pursuit of exploring the materiality of painting. Noland, along with Louis, was among the first to learn of her novel technique when Clement Greenberg introduced them to her work during a studio visit in 1953.

\n\n

\nGreenberg considered these color fields as the purest form of modern painting: effectively opening up the possibilities of Jackson Pollock’s revolutionary drip technique, the stain technique enabled a “purely optical” experience of painting. The semi-transparent expanses of variegated color that stain the canvas weave draw attention to the flatness of the picture plane, freeing it from the shackles of illusory, pictorial space and instead emphasizing it as a literal, physical surface. The object-nature of painting was further expanded upon by Noland, as well as Sam Gilliam, in their radical reconsideration of the very shape and structure of the canvas itself.

\n",527,"In Short",[411],{"_388":126,"_397":412,"_399":413,"_401":-7},1271,"

\r\n
“I’m a one-shot painter.”
\r\n– Kenneth Noland
\r\n

\r\n\r\n

Painted in 1979, Kenneth's Noland Resect is an important example of the discrete series of asymmetrical shaped canvases that the artist made between the late 1970s and early 1980s. Commonly referred to as Surfboards paintings, these slender, irregularly shaped canvases harken back to Noland's seminal series of Needle Diamonds from the 1960s, all the while exemplifying the remarkable degree of complexity and experimentation with which the artist was pushing his practice to new heights. Resect is notably among the last paintings created with Noland's highly controlled and premeditated staining method, whereby any modification or revision is nearly impossible due to his application of thinned paint onto raw canvas. Created just two years after the artist's first ever retrospective, held at the Solomon R. Guggenheim Museum in 1977, this work speaks to a defining moment in Noland's career.

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John Chamberlain Pure Drop, 1983. Estimate: $600,000-800,000. \n20th Century & Contemporary Art Day Sale, Morning Session.

Joan Mitchell and Xavier Fourcade in the artist's studio, circa 1983.

Joan Mitchell Noël, 1961-1962. Estimate: $9,500,000-12,500,000.\n20th Century & Contemporary Art Evening Sale.

Joan Mitchell Noël, 1961-1962 (installation view). Estimate: $9,500,000-12,500,000.\n20th Century & Contemporary Art Evening Sale.

Joan Mitchell Untitled, 1975. Estimate: $80,000-120,000.\n20th Century & Contemporary Art Day Sale, Morning Session.

Jean-Paul Riopelle and Joan Mitchell photographed in their apartment-studio on Rue Frémicourt, Paris, 1963.

The Capri, Marfa, Texas. Photograph by Douglas Friedman.

1.

James Turrell Hologram (IV 01), 2002. Estimate: $30,000-50,000.

2.

Joan Mitchell Untitled, 1975. Estimate: $80,000-120,000.

3.

John Chamberlain Pure Drop, 1983. Estimate: $600,000-800,000.

4.

André Breton Four Works: (i-iv) Untitled, 1947-1959. Estimate: $15,000-20,000.

5.

Loló Soldevilla Sin Título, 1956. Estimate: $30,000-40,000.

6.

Ana Mendieta El laberinto de la vida (The Labyrinth of Life) from the series Labyrinth of Venus, 1982. Estimate: $50,000-70,000.

7.

Kehinde Wiley Check II, 2006. Estimate: $25,000-35,000.

8.

Tomás Sánchez Meditador, 1995. Estimate: $250,000-350,000.

Enjoy a 20% discount on Cooking in Marfa by using code PHILLIPS20 at checkout. Offer expires July 30, at midnight Eastern Time.

Caspar David Friedrich Wanderer Above the Sea of Fog, 1818 (detail). Hamburger Kunsthalle.

John Chamberlain Pure Drop, 1983. Estimate: $600,000-800,000.
\n20th Century & Contemporary Art Day Sale, Morning Session.

Joan Mitchell Noël, 1961-1962. Estimate: $9,500,000-12,500,000.
\n20th Century & Contemporary Art Evening Sale.

Joan Mitchell Noël, 1961-1962 (installation view). Estimate: $9,500,000-12,500,000.
\n20th Century & Contemporary Art Evening Sale.

Joan Mitchell Untitled, 1975. Estimate: $80,000-120,000.
\n20th Century & Contemporary Art Day Sale, Morning Session.

116

Kenneth Noland

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Kenneth Noland